James Mangold
James Mangold
James Mangoldis an American film and television director, screenwriter and producer. Films he has directed include Walk the Line, which he also co-wrote, The Wolverine, Cop Land, Girl, Interrupted, Knight and Day, and the 2007 remake 3:10 to Yuma. He also produced and directed pilots for the television series Men in TreesNYC 22and Vegas...
NationalityAmerican
ProfessionDirector
Date of Birth16 December 1963
CityNew York City, NY
CountryUnited States of America
I had the advantage of making a movie about a man who was an artist himself, and an artist of the shadows, in the sense that he understood life's lonelinesses and life's mistakes, and that people make them. In that sense, he wasn't interested in hiding them.
There was a point when they got into enough of a groove that when they played for the extras in Memphis we felt the love,
As we got to know John and June, what we needed them to understand was that the people they were now was not the people they were then, ... And there was the challenge of combining the grand wisdom and spirituality of these elder legends backwards into the young people they were, as they were learning those lessons. To tell how they got to be here, we had to go to those darker places, and not temper it.
The two of them have a lot in common, and I don't mean life story, ... I mean a kind of core energy.
All you have to do is listen over and over and over again to any one of his songs. Even when they first started appearing in the early to middle '50s, the lyrics are incredibly dark. Everyone else is singing about getting girls and being happy, and he's singing about, 'I go out on a party and look for a little fun, but I find a darkened corner, because I still miss someone.' That's a dark lyric for a pop song.
There's a level where the themes of a film are very relevant to me and also the idea of finding out how relevant one genre is to another. I think that westerns and samurai films and superhero films have a lot in common. It's just that the scale of the visuals in tentpole films can sometimes overwhelm the drama.
I love comic books. Since I was a kid, I've collected them.
You see the assets of your actors and you see their strengths and you try to play into them. It's like I feel part of my job is as a coach. I'm putting a team on the field and you want to formulate how to make the best game out of these players.
The one aspect I do love about digital is I love to push performance and I love to roll and roll and keep doing takes in a single performance.
Having the kind of infinite loop of what a digital stream is - you can shoot for a long time without cutting - allows me to sometimes perform really exciting things.
My own sense and taste in 3D films has been I don't really like it when it feels like it's a gimmick and it's coming at me, it's flying at me.
The funny thing about me is I move from genre to genre, but I essentially shoot all the movies the same way.
Filmmakers get into trouble when they're watching too many DVDs and quoting all the time.
Just because your leg might heal doesn't mean it doesn't feel broken. It doesn't mean that a car hitting your body doesn't hurt like the same it would hurt if a car hit your body.